It follows Flora, a single mom who is at war with her son, Max. Trying to find a hobby for Max, she rescues a guitar from a dumpster and finds that one person’s trash can be a family’s salvation.
Pam says
Do you ever find yourself watching a movie that you hope will never end? You want the characters’ lives to continue so that you can be a part of it? Like a good book that you dread reading the last page because you know it’ll be over…that is exactly what John Carney’s new Apple TV+ movie “Flora and Son” is like. He creates a story with realistic characters who find their way into your heart as you become a part of the story itself.
If you’re not familiar with Carney’s work, you’ve missed out. “Once” (2007), “Begin Again” (2013), and “Sing Street” (2016) all have that familiar feel as it weaves music into and out of the storyline. “Flora and Son” continues with those same vibes as our main character, Flora (Eve Hewson) and her 14-year old son Max (Oren Kinlan) find themselves at a crossroads. Max has “light fingers” — we soon find out that he comes by this naturally — and has pushed the limits on the penal system too far. With an absentee father, Ian (Jack Reynor) whose has-been musical career outweighs the importance of being a dad, Flora, who will never be nominated for Mother of the Year, is at her wits’ end. Her relationship with her son is odd thanks to the fact that Flora had him as a teen and the two are seemingly growing up together, each finding their way through the bond of music.
Flora is told to give her son something to do and “buys” him a guitar for his birthday. The gift, not well received, lands in the corner of their shoebox apartment only to find its way into Flora’s hands. Attempting to learn the instrument — a way to prove that she’s worthy of men’s adoration — she lands upon guitar instructor Jeff (Joseph Gordon-Levitt) on-line. And this is when the magic begins. Flora’s guitar lessons become more like music therapy and Flora begins to recognize her son for who he is. That isn’t without its obstacles, however. Living near poverty level, money is always an issue, but it’s the realistic conversations she has with her ex-husband and best friend, Kathy (Marcella Plunkett) that drive a stake of reality through your heart. Carney finds a way to use humor within this drama that perfectly balances the story, but never is it over-the-top or forced. It’s real.
Hewson creates a flaw-filled Flora who is as dynamic as she is frustrating. Her character’s honesty is brutal at times, but portrays the difficulties of being a mother, especially a mother at a young age. While we judge her harshly at the beginning, we grow to love her and hope that she can become a better mom and even find happiness.
Gordon-Levitt has a unique role as the guitar teacher thousands of miles away in L.A. Of course, he has his own story to tell and this connects him to Flora as well as with us, the viewers. It’s a beautifully understated performance reminiscent of “500 Days of Summer,” but with a level of maturity that is welcomed. It’s an unusual love story that never forgets to be authentic and stays on Flora’s path to grow.
That mother-son relationship is at the heart of the film and like Gordon-Levitt’s performance, Kinlan finds a beautiful understated performance as well. His portrayal of Max is at once a typical teen rebelling against and trying to figure out his mother. There are a few very touching moments that gently pull at your heartstrings and together with Hewson, it’s incredibly emotional without outwardly trying.
The music, as with all of Carney’s movies, is also a character in “Flora and Son.” It’s an undercurrent that washes over the characters and pulls them into a harmonic mode. The power of music cannot be denied as it enables the story to propel forward and give us an ending that will make you inhale and exhale deeply; unable to move at the end. And stay seated for the credits as there’s a gift for you to hear.
4 stars
An unabashed crowd-pleaser, John Carney’s “Flora and Son” continues the filmmaker’s examination of the connective and healing power of music. Containing a star-making performance from Eve Hewson, the film is a calculated exercise yet the sincerity with which it is executed trumps any concerns over the familiarity of the plot. Effortlessly vibrant and genuinely optimistic, this is cut from the same cloth as Sian Heder’s “CODA,” which took home the Oscar for Best Picture for its producer Apple Films. Whether “Flora” will yield the same result remains to be seen, but if Academy members are looking for a warm film to embrace, this is the one.
The setting is Dublin, and the titular single mom (Hewson) is doing her best to make ends meet. Baby-sitting for a well-to-do family, she has no problem lifting cash from her employer’s purse if she happens to leave it open and lying about. Truth be told, she really hasn’t been herself since her husband, wayward musician Ian (Jack Reynor), left her. Without direction, she attempts to connect with her teenage son Max (Oren Kinlan) but he’s not having it. On probation for past offenses, the teen is weary of any adult, as everyone he’s trusted in the past has let him down. It comes as no surprise that he casts aside the guitar Flora has gotten him for his birthday; it’s probably better he doesn’t know she picked it out of a dumpster.
Yet, there’s something about the instrument that draws Flora’s attention and before you know it, she’s looking online for guitar lessons. She finally connects with Jeff (Joseph Gordon-Levitt), a laidback, California songwriter whose lack of pretension she finds appealing.
The best thing about Carney’s films (“Once,” “Swing Street”) is his ability to write relatable characters and cast the perfect actor to bring them to life. Hewson has a sassiness about her that, while at times can be a bit much, you can’t help but be attracted to. More importantly, the hurt in her eyes tells us all we need to know about all she’s struggling with and that the brave face she wears is a fragile façade. Much the same can be said for Kinlan as he wears Max’s anger as it were a suit of sharp quills, keeping everyone who meets him at a distance. That he’s able to convey the character’s vulnerability with a subtle touch is surprising.
Of course, we know mother and son will come together and the music they ultimately collaborate on will be the bridge that connects them. Yet, the predictability of the story doesn’t prevent us from getting engaged with the story and their plight, thanks to the two leads engaging work. That Gordan-Levitt has never been more at ease and Reynor delivers he usual solid turn doesn’t hurt.
Thankfully, Carney defies expectations in the third act, wisely focusing on Flora and Max’s relationship. The filmmaker leans into what he does best, namely showcasing his music, reminding the viewer of its expressive power and its ability to intimately convey emotion in a way mere words can’t. Flora finds her voice on stage and in doing so becomes the strong woman she’s wanted to be, and the dependable mother Max has needed. “Flora” may be predictable, but that doesn’t rob it of its poignancy or power.
3 1/2 Stars
